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DAVID ARNOLD
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- CommentAuthorDemetris
- CommentTimeDec 13th 2010 edited
Interesting (although i have to admit that opening and closing = dynamic, middle section is mediocre - is what many modern scores suffer from).
It's weird though; something like Arnold's latest which is (perhaps, i assume from the reviews) a thousand-heard orchestral approach to Narnia without vigor perhaps, tires us; whilst DAFT PUNK's TRON:LEGACY (which is indeed exception, imo) sounds fresh to our ears. My God Zimmer has ruined film music forever, indeed !
Love Maintitles. It's full of Wanders. -
- CommentAuthorSouthall
- CommentTimeDec 13th 2010
Christodoulides wrote
Interesting (although i have to admit that opening and closing = dynamic, middle section is mediocre - is what many modern scores suffer from).
It's weird though; something like Arnold's latest which is (perhaps, i assume from the reviews) a thousand-heard orchestral approach to Narnia without vigor perhaps, tires us; whilst DAFT PUNK's TRON:LEGACY (which is indeed exception, imo) sounds fresh to our ears. My God Zimmer has ruined film music forever, indeed !
What's good about Tron: Legacy (for me at least) is that it's not what scores in that style generally have been in the past, which is badly-orchestrated orchestral music with electronics added on around the outside - it's conceived and performed with the electronics and orchestra as one. I presume Daft Punk had a lot of help with the orchestrations (Bruce Broughton's credit would suggest so) but they knew what they were doing. Inception probably remains my favourite score of the year, but that feels like the extension of a style Zimmer has already explored fairly extensively - the pinnacle of that style, for sure - but Tron isn't quite like anything heard before. It has a very long list of influences, but they are pulled together in a unique way. Few scores these days could truly be described as unique and I think that's why it has won so many admirers. -
- CommentAuthorDemetris
- CommentTimeDec 13th 2010
Well, very good points although TRON sounds like Inception 2. However, you're right; it's very different when composers who usually work with orchestra (or orchestral-like sounds and arrangements) work with electronics and end up with horrendously divorced and estranged orchestra-vs-electronics. This is a shame, it's badly constructed most of the times and sounds plain wrong and awful, with worst example being Djawadi and Tyler Bates that come to mind now. TRON on the other hand, sounds like coming from someone who is extremely musical, and knows what they're doing. The difference with the afore-mentioned is vast.Love Maintitles. It's full of Wanders. -
- CommentAuthorErik Woods
- CommentTimeDec 13th 2010
And Tron seems more appropriate for the film it's accompanying.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSouthall
- CommentTimeDec 13th 2010
One of the big reasons for me that Tron doesn't sound like Inception 2 is that the orchestra sounds like an orchestra. I presume that the reason Zimmer has always recorded the orchestra in a way which makes it sound like samples is to do the very thing I mentioned, to make the orchestra and electronics blend in a more organic way. Tron shows how much better it can be done (interestingly, using Zimmer's own recording engineer!) There are clear Zimmer influences in Tron but also parts of everyone else from Aaron Copland to Vangelis - calling it Inception 2 is going a bit far, I think. -
- CommentAuthorDemetris
- CommentTimeDec 13th 2010
Well, the main theme is practically the same. And the ostinati and the whole feeling of the main theme and variations. Jennifer Athena Galatis, the composer, also commented on this one the other day on facebook and was a very interesting discussion to get into for me, away from mt for a change.Love Maintitles. It's full of Wanders. -
- CommentAuthorSouthall
- CommentTimeDec 14th 2010
The other thing about it being Inception 2 is that Tron was recorded in May/June, and Inception wasn't even released until July. -
- CommentAuthorDemetris
- CommentTimeDec 14th 2010
they were developed sideways and in the same place from what i know. Plus i had a talk with zimmer about who wrote what in inception and it is pretty clear that it is an original work. Plus the main motif appeared in the composing process and in teaser trailers months ahead the release .Love Maintitles. It's full of Wanders. -
- CommentAuthorSouthall
- CommentTimeDec 14th 2010
Has it been established just how much help Daft Punk got? It seems scarcely believable that they could have written some of this stuff (the end of "Outlands" sounds like John Adams and there's a clear Corigliano influence later on). -
- CommentAuthorKevinSmith
- CommentTimeDec 15th 2010
Southall wrote
Has it been established just how much help Daft Punk got? It seems scarcely believable that they could have written some of this stuff (the end of "Outlands" sounds like John Adams and there's a clear Corigliano influence later on).
What do you believe less: Daft Punk writing this, or Clint Mansell writing Sahara?Revenge is sweet... Revenge is best served cold... Revenge is ice cream. -
- CommentAuthorTimmer
- CommentTimeDec 15th 2010
If it's good and you enjoy it then who cares.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorDemetris
- CommentTimeDec 15th 2010
Timmer wrote
If it's good and you enjoy it then who cares.
Wisest words one could say in such a case
Love Maintitles. It's full of Wanders. -
- CommentAuthorSouthall
- CommentTimeDec 15th 2010
Indeed!
It's pretty clear who wrote Sahara and always has been, but it was a genuine question about Tron. -
- CommentAuthorlp
- CommentTimeDec 15th 2010 edited
NP: The Fan "Sacrifice" - Hans Zimmer
The curious precursor to the current Zimmer sound. The first 6minutes and 26 seconds (with the ethereal choir passage and gorgeous Cello solo) is great. Everything else is an interesting sonic experiment that I enjoy as well. I would love to hear an expanded version (il/legal or not) with the HGW and Jeff Rona contributions. -
- CommentAuthorTimmer
- CommentTimeDec 15th 2010
lp wrote
NP: The Fan "Sacrifice" - Hans Zimmer
The curious precursor to the current Zimmer sound. The first 6minutes and 26 seconds (with the ethereal choir passage and gorgeous Cello solo) is great. Everything else is an interesting sonic experiment that I enjoy as well. I would love to hear an expanded version (il/legal or not) with the HGW and Jeff Rona contributions.
That's all well and good but this is the DAVID ARNOLD thread.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorlp
- CommentTimeDec 15th 2010
Southall wrote
Indeed!
It's pretty clear who wrote Sahara and always has been, but it was a genuine question about Tron.
From the interviews that I've read, it seems like the duo were working closely, hand in hand with their orchestrator(s?). I naturally inferred that they would write and the orchestrators would flesh out the sound and arrange it. This reminds me of Shirley Walker and her work relationship with Brad Fiedel on True Lies, where she had to do some heavy lifting on some cues to make sure it's playable (and sound good) with an orchestra. -
- CommentAuthorlp
- CommentTimeDec 15th 2010 edited
Timmer wrote
lp wrote
NP: The Fan "Sacrifice" - Hans Zimmer
The curious precursor to the current Zimmer sound. The first 6minutes and 26 seconds (with the ethereal choir passage and gorgeous Cello solo) is great. Everything else is an interesting sonic experiment that I enjoy as well. I would love to hear an expanded version (il/legal or not) with the HGW and Jeff Rona contributions.
That's all well and good but this is the DAVID ARNOLD thread.
Yes, let's talk about Tron and Inception instead. -
- CommentAuthorTimmer
- CommentTimeDec 15th 2010
Not seen Tron, not heard Tron, not seen Inception, have heard Inception, I like it.
...your turn.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSouthall
- CommentTimeDec 15th 2010
lp wrote
Southall wrote
Indeed!
It's pretty clear who wrote Sahara and always has been, but it was a genuine question about Tron.
From the interviews that I've read, it seems like the duo were working closely, hand in hand with their orchestrator(s?). I naturally inferred that they would write and the orchestrators would flesh out the sound and arrange it. This reminds me of Shirley Walker and her work relationship with Brad Fiedel on True Lies, where she had to do some heavy lifting on some cues to make sure it's playable (and sound good) with an orchestra.
I think it's pretty clear (at least to my ears) with True Lies that it's orchestrated synth music, whereas Tron really isn't like that at all. There's no way that some of it was written on a keyboard, it sounds like it was done with pencil-and-paper from start to finish. That's what I find so wonderfully refreshing about it. -
- CommentAuthorDemetris
- CommentTimeDec 15th 2010
Southall wrote
Indeed!
It's pretty clear who wrote Sahara and always has been, but it was a genuine question about Tron.
Which in the end, very few care about it (i know i don't) if the end product (the score) kicks ass. Bring more like these in, PLEASE.Love Maintitles. It's full of Wanders. -
- CommentAuthorlp
- CommentTimeDec 15th 2010
Timmer wrote
Not seen Tron, not heard Tron, not seen Inception, have heard Inception, I like it.
...your turn.
I really like Inception. Great story. The score was surprisingly good and suited the movie very well.
I've heard of Tron and, beside a few good cues, I don't really think it's one of the best score of the year. I'll wait for the movie to come out on DVD and see it. -
- CommentAuthorTimmer
- CommentTimeDec 15th 2010
lp wrote
Timmer wrote
Not seen Tron, not heard Tron, not seen Inception, have heard Inception, I like it.
...your turn.
I really like Inception. Great story. The score was surprisingly good and suited the movie very well.
I've heard of Tron and, beside a few good cues, I don't really think it's one of the best score of the year. I'll wait for the movie to come out on DVD and see it.
I'll wait for the DVD too. I do want to hear the score though, considering the praise I've heard here and at other boardsOn Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorlp
- CommentTimeDec 15th 2010
Southall wrote
I think it's pretty clear (at least to my ears) with True Lies that it's orchestrated synth music, whereas Tron really isn't like that at all. There's no way that some of it was written on a keyboard, it sounds like it was done with pencil-and-paper from start to finish. That's what I find so wonderfully refreshing about it.
I really doubt the idea that the Tron score was done with pencil and paper. For me, the synth writing was well orchestrated and arranged, since their orchestrator were working with them on day one. -
- CommentAuthorThomas Glorieux
- CommentTimeDec 15th 2010
I must say that after a second listen, Narnia 3 is not the score I wanted. It sounds remarkably like Godzilla at times, and the score has got the moments, but this is such a long album that I litterally have to throw away half of the album to make it memorable
once again, an overlong example of an albumwaaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentAuthorSouthall
- CommentTimeDec 15th 2010
Christodoulides wrote
Southall wrote
Indeed!
It's pretty clear who wrote Sahara and always has been, but it was a genuine question about Tron.
Which in the end, very few care about it (i know i don't) if the end product (the score) kicks ass. Bring more like these in, PLEASE.
It doesn't make any difference at all to how much I enjoy the music. I just like to know the story behind really good scores, and this is certainly one of those! The whole Nicholas Dodd story doesn't alter my extreme enjoyment of David Arnold's earlier works either, but I just find it nice to know these things. Maybe I'm just unusual! -
- CommentAuthorSouthall
- CommentTimeDec 15th 2010
lp wrote
Southall wrote
I think it's pretty clear (at least to my ears) with True Lies that it's orchestrated synth music, whereas Tron really isn't like that at all. There's no way that some of it was written on a keyboard, it sounds like it was done with pencil-and-paper from start to finish. That's what I find so wonderfully refreshing about it.
I really doubt the idea that the Tron score was done with pencil and paper. For me, the synth writing was well orchestrated and arranged, since their orchestrator were working with them on day one.
You may well be right, of course, but stuff like the ending of "Outlands" just doesn't sound like it could have been written on a keyboard. -
- CommentAuthorsdtom
- CommentTimeDec 15th 2010
Enjoyed the new Sherlock Holmes he did very muchlisten to more classical music! -
- CommentAuthorErik Woods
- CommentTimeDec 15th 2010
What was that Yoda?
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDreamTheater
- CommentTimeDec 15th 2010
Thomas Glorieux wrote
I must say that after a second listen, Narnia 3 is not the score I wanted. It sounds remarkably like Godzilla at times, and the score has got the moments, but this is such a long album that I litterally have to throw away half of the album to make it memorable
once again, an overlong example of an album
Nice attempt to bring the topic back on track bro, but YOU FAILED! MISERABLY !!!!!
And I'm in no hurry to hear it."considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G. -
- CommentAuthorThor
- CommentTimeDec 23rd 2010
Southall wrote
Christodoulides wrote
Southall wrote
Indeed!
It's pretty clear who wrote Sahara and always has been, but it was a genuine question about Tron.
Which in the end, very few care about it (i know i don't) if the end product (the score) kicks ass. Bring more like these in, PLEASE.
It doesn't make any difference at all to how much I enjoy the music. I just like to know the story behind really good scores, and this is certainly one of those! The whole Nicholas Dodd story doesn't alter my extreme enjoyment of David Arnold's earlier works either, but I just find it nice to know these things. Maybe I'm just unusual!
Not in my world.I am extremely serious.